As legend would have it, Otto Preminger was a bald-headed baddy scolding helpless actors about flaws in their performance-the tyrant on the set. But Preminger's films, some thirty-seven in all, bear no sign of this heated temperament, instead sharing a muted detachment that ironically excites our own engagement with his complex characters. A transplant from Viennese theater, Preminger proffered an overarching vision that found its way into almost every genre, whether it be mystery, melodrama, biopic, comedy, musical, or historical saga. From his earliest triumphs, a string of taut noirs like Laura, Fallen Angel, and Whirlpool, through his feisty indie films of the fifties, Saint Joan, The Man with the Golden Arm, and others, to his politically inflected epics like Exodus and Advise and Consent, Preminger promoted a cool take on human nature that simultaneously savored cinema's expansive visual spaces; over time his eloquent way with the camera grew complex and sensuous. The willful director's insistence on artistic autonomy compelled him to become one of the first champions of independent film. Beginning with 1953's The Moon Is Blue, Preminger released a trove of spirited works (Anatomy of a Murder, Carmen Jones, Bonjour Tristesse) notable for their single-minded pursuit of prickly social ills like drug addiction, racism, and promiscuity. Join us for this fourteen-film survey of a director who, when he was bad, was better.